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Interestingly, though it is the sitcom’s main location, the exterior of Sanford and Son Salvage does not ever appear in establishing shots or in the midst of any of the show’s 136 episodes. There’s pretty much nothing I relish more than diving into the nitty-gritty when proving or disproving a location – especially if that location is from an old production and/or is no longer in existence. I recently had the pleasure of delving into one such case thanks to a fellow stalker named Dale who emailed me in October to ask if I had any information on Sanford and Son Salvage from Sanford and Son. I never watched the hit series, which ran on NBC from 1972 to 1977 (it was a bit before my time), but started looking into things and quickly came upon this thread about the locale on the Sitcoms Online Message Boards website. User shakespeares_bust started off the thread in August 2003 with the query, “Does anyone know the actual address of the exterior shot used for the opening of Sanford and Son?
Tommy Johnson
Recounts possible for NC Senate leader's son, House Democrat - WUNC
Recounts possible for NC Senate leader's son, House Democrat.
Posted: Mon, 11 Mar 2024 07:00:00 GMT [source]
He who had run with Charley Patton, mentored and inspired Robert Johnson and Muddy Waters and cut blues masterpieces My Black Mama Part 1 and Part 2. The latter provided the foundation for his best known recording Death Letter Blues cut in 1965, a song knitted into the DNA of Jack White. As a preacher, he’d once shunned secular music – or the devil’s music as it seemed to southern Christians. He killed a man in 1928 and found himself in Parchman Farm, aka the Mississippi State Penitentiary.
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Jack White even named House’s sparse, bewitching a capella number “Grinnin’ in Your Face” as his favorite song. One of the most powerful and influential figures in rural blues, noted for his powerful vocals and vivid steel guitar work. Uncertain but hopeful, a generation of blues enthusiasts bought House’s comeback LP The Legendary Son House – Father Of Folk Blues, put it on, heard this, and breathed a sigh of relief. House testifies from the border between righteous and riotous, the life of a saved man and that of a man lost in the blues. Because of the mystique surrounding that other great Delta bluesman, Robert Johnson, Son House has tended to be slightly overshadowed. Thus it was interesting to hear first-hand of Son’s encounter with Robert and a further aid to understanding the chromatics and semantics of the blues environment.
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As soon as your guests pass through the stylized copper gates and ascend the scissor-style stairs to the main entrance of the house, they will know that they are in for a memorable event! Contact us today for more information about hosting your next event at the Sowden House. The intriguing nature of the house allows for the house to not only hold unbelievable events, but also helps them support the causes they care about. By holding your event at the Sowden House, you can feel comfortable that your money is going towards a wonderful purpose.
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Son House himself alleged that he was middle aged during World War I, and, more specifically, that he was 79 in 1965, which would mean that he was born around 1886. Throughout the tour – in fact throughout his career – Son has been involved in the church-versus-blues syndrome, and he is still careful to keep his religious and non-religious songs apart. "That afternoon, several children were playing in a bounce house when a strong gust of wind sent it airborne into the neighboring lot," Pinal County Sheriff's Office said. "A two-year-old child was transported to the hospital where he passed away. A second child received non-life threatening injuries and was also transported to the hospital for care." So we pretty much ascertained that Robert Johnson was dead and no one had ever heard of Skip James or anyone who played like him but we backtracked Son House. It turned out that Bukka’s story of seeing him in Memphis was bogus; he had made the story up.
Gagosian hosts a special event by Adriana Varejão, one of Brazil’s most renowned living artists. For three consecutive evenings, Varejão’s four-channel video installation Transbarroco (2014) played across the facade and in the central courtyard. John and Ruth Sowden, for which the house was originally built, were artsy Hollywood folks who liked to party. Therefore, Lloyd Wright, who had been designing sets for Paramount Studios at the time, indulged their desire for the theatrical.
I Am the Night, inspired by true events and the memoir One Day She’ll Darken, tells the story of Fauna Hodel, a teenage girl who travels to late-1940s Los Angeles to search for someone in her past. Chris Pine plays a reporter who helps Hodel in her treacherous journey into Hollywood’s dark underbelly. From charity galas and private parties to photoshoots and corporate retreats, the Sowden House provides a unique and distinctive setting for any event. The estate features a sprawling living room with a grand piano and dramatic city views, a formal dining room, and an enclosed inner courtyard with a secluded pool and jacuzzi. Intense is the one word that describes Son House (21 March 1902 – 19 October 1988)and his version of the blues. He was a major influence on Muddy Waters and Robert Johnson, like both of them, when Son sang the blues you had to believe him.
The enchanted site, where Malibu Creek meets the Pacific Ocean, was once home to the Chumash Indians, who thrived there until the late 18th century. The Rindge family’s daughter, Rhoda, and her husband, Merritt Huntley Adamson, used the site to construct a beach house, now the historic Adamson House museum. From the Sixties onward, House—his use of National resonator guitars (“Style O”)—influenced music makers from Buddy Guy, Eric Clapton and Jimmy Page, to Jack White, Derek Trucks and Warren Haynes. Ill health plagued his later years and in 1974 he retired once again, and later moved to Detroit, Michigan, where he remained until his death from cancer of the larynx. Members of the Detroit Blues Society raised money through benefit concerts to put a fitting monument on his grave. But House was a remarkable performer, with one of the most harrowing voices in Mississippi.
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But we had got over into the area around Robinsonville, Lake Cormorant, a little north of Tunica on the old Highway 61 and we found an old man whose son had once been married to Son’s stepdaughter, Mrs House had children by her first marriage. So we found him and he said ‘Yes, I was once married to the daughter of Son and Mrs House’. Then we found her and we talked to her and she said, ‘Oh, yes, they came over to Detroit a couple of years ago’. Musically Son House was not heard of again until 1964, when he was rediscovered in a poor state of health, with a drink problem, living in an apartment with his wife of 30 years.
During my research, I came across the Sanford and Son publicity shot pictured below. (You can see similar images here, here, here, and here.) Interestingly, though a sign reading “Sanford and Son Salvage” is positioned on the fence, the photo was obviously not lensed at the Magnolia Boulevard location, being that no house was ever situated there. I am unsure of where exactly the picture was taken or why a different locale was used for it, but if anyone happens to know, please fill me in. Shady Grady finishes up by saying, “Compare that to the opening credits of Sanford and Son and it falls into place. As Lamont pulls in the driveway, you can see a sign in front of the house, to the right of the driveway [pink arrow] and a power pole to the left of the driveway [blue arrow]. Both are in the Google earth photo.” The building with the angled overhang [purple arrow] seen in the background of the opening credits also remains the same today.
On his release, he fell in with Charley Patton and his place in blues folklore was secured. House had long been retired from music in 1964 when blues aficionados Nick Perls, Phil Spiro and Dick Waterman drove to Mississippi to look for him, only to learn he had moved to Rochester, New York, in 1943. They made national news in Newsweek magazine when they located him there on Father’s Day, and Waterman became House’s manager and guided his comeback career. Of several albums House recorded in the ’60s, the most notable was the 1965 Columbia LP, “Father of Folk Blues”. His concert performances were chilling in their passion and intensity, as he seemed to go into a trance-like state when he sang, striking guitar chords with heavy blows, rising from his chair only on occasional to sing a spirited a cappella gospel song. House performed little after the early ’70s, and from 1976 until his death on October 19, 1988, he lived in Detroit.
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